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UK born, Fremantle-based producer Jon E. makes his return to Natural Element, after his sell-out debut release ‘Smoke’ in 2025 captured the attention of DJs and dancefloors around the world.
Here sees the first of a two-part series of EPs that displays the fruits of a deeply creative phase following an injury that had him bed bound for months. The sonic progression from his debut is tangible across all four tracks, with an enhanced palette and clear versatility. The EP is a deeper expression of his production skills and unique, authentic sound. Natural sounds of the city make for an organic touch throughout, giving tracks an atmosphere that makes them feel alive. ‘One More Time’ sets the pace with an irresistible groove that is both bold and refined, steeped in jazzy tones and calling to mind summer day parties. ‘We Can Make It’ is a blissful and uplifting jam that goes on a journey of its own, leaving a lasting impression with the delicate, distinct vocals of Roxanne forming a perfect match. On the flip, ‘Raise Them Up’ takes things a little deeper with a moody roller inspired by Moodymann, and ‘Day n Night’ rounds off the record in style with a more lo-fi groover exhibiting loose drums, intricate percussion and floating brassy licks.

2026 Repress

If ever an album could transport you to the hazy sunshine and imagined halcyon paradise of Southern California in the mid-1980s, could capture the early evening warmth of hanging at an inclusive boogie jam as it approaches “magic hour” in Santa Ana or Anaheim, then it’s Vaughan Mason and Butch Dayo’s Feel My Love. A brilliantly produced deep slung, low rider funk classic originally released on Salsoul in 1983. It’s a masterpiece of “funk love music”.

Yes, this is indeed a perfectly formed five track “mini LP” of unparalleled heat, but there’s one song here that, above the rest, represents Orange County boogie-funk. A straight killer beloved by all that have had the pleasure of moving to it. A track that can fill up a dance floor within seconds of its starting. That song is the eternal title track, “Feel My Love”.

This is a work of art that made people fall in love with the funk. It transcends the limitations of genre. “Feel My Love”’s deceptive simplicity makes it perfect to drop during a house set, a classic funk party or at a west coast rap jam. It’s sexy, deeply emotional, melancholic, hopeful, passionate and just radiates so, so much raw energy. This is music.

The rest of the record is hardly filler though. Opener “Oh, Love” is a dizzying, emotional slow jam. With heaven-sent vocals riding gorgeous, sweeping keys that alternate between sweet twinkling lines and funk-fuelled stabbing. It’s sensational. A rollerskating jam named “Rollalong Songs” is an ultra-swish piece of dance floor dynamite. Its slick drums, staccato piano and neck snapping claps underscore Dayo’s buoyant vocals. It’s essentially “Bounce, Rock, Skate, Roll Part II”.

The flip begins with “Party On The Corner”. Smoother than silk vocals, day-glo synths, a bubbling bassline and guitar licks that surely received the Prince seal of approval. It’s another example of how Vaughan Mason and Butch Dayo flirt with perfection so routinely. The most majestic closer, the kaleidoscopic, cow-bell-assisted synth-funk heater “You Can Do It” is a proto-rap groover that truly smokes.

This prized LP is a stone cold jam and finding original copies on vinyl at affordable prices has been tough for years. Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, this fresh Be With reissue ensures this legendary LP now sounds, looks and feels as sensational as it should.

Futuristica is 20!
This independent imprint has been producing and releasing music for friends and family for 20 years, so what better way to celebrate than by releasing a 2xLP limited edition 20 track compilation of rare and never before released on vinyl recordings exclusively selected by label manager Simon Skolfield.
This is a beautifully varied selection of deep soul, jazz and hip-hop music from a group of like-minded independent artists creating their own brand of soulful gems. From the early electro soul of Electric Conversation, the multi layered jazz samples of Kira Neris to the lush vocal harmonies of Deborah Jordan, production and remix class from Marc Rapson and the contemporary spiritual soundtracks of The Peter Franks Group.
Over the years there has been generous support from Gilles Peterson, Tony Minvielle, Marc Mac, Patrick Forge, Kev Beadle and so many more worldwide. Artists like As Valet, Emanative, LaNote and Georgie Sweet have gone on to produce fine work with several different independent labels with our artists garnering fine remixes and production work from the likes of DJ Spinna, Nostalgia 77, Kev Bown, Mr Beatnick, Nicolay, Kaidi Tatham, Atjazz, Simbad, K15, Domu, Mecca:83 and so many others. And all of this organically grown since the release of Low Budget Soul, the label’s debut project back in 2006.

The latest edition of 'Downtownsounds Classics' arrives from Dublin disco messers Fatty Fatty, just in time for the summer sunshine !

Fully licensed and cut loud on 12 inch vinyl the way God (aka Walter Gibbons) intended, it sees in-house producers Pablo and Shoey take on two choice cuts from the legendary Salsoul label.

Salsoul was the very first label to release a commercially available 12 inch remix - the aforementioned Gibbons and his 9 minute extension of Double Exposure's '10 Per Cent'. They would go on to issue a raft of underground disco classics with mixes by the legendary likes of Larry Levan, Tom Moulton and Shep Pettibone. Having robbed the famous 'Baker-Harris-Young' rhythm section from Philadelphia Records, they defined the disco sound in the second half of the 1970's and kept roaring well into the next decade.

The new mixes pay explicit tribute to two hugely formative influences on the Fatty fellas - The A extends the mysterious and wondrously wonky Big Bear edit of Bunny Sigler's 'By The Way You Dance'. Back in the day, these cosmic under-the-counter 12s helped show the Fatties how to disco real right, and they've stood the test of time wonderfully. This one has been at the front of Pablo's bag for longer than he cares to remember, and now the rest of the world can enjoy it, with some extra Pablo and Shoey disco magic thrown in for good measure...

Speaking of cosmic, the flip sees the lads turn in a stripped-back, ever-building mix of First Choice 'Hold Your Horses'. Having first heard this played by the Cosmic King himself, Danielle Baldelli, they found themselves let down by the commercially available mix. Through the disco haze, and with some subtle stemming, several outer-space whooshes and a string/vocal climax to die for, they've tried to recreate the way they heard Baldelli play it...

With the classic Salsoul artwork also present and correct, this is a love letter to perhaps the most important label in dance music history, with music that still sounds amazing five decades on... Don't sleep!

Lunatic Music returns with its next transmission — welcoming Remmy of Tokyo's underground into the fold.

A record that captures a sound that feels both loose and locked-in — tripped-out, playful, and quietly powerful. Having already been circulating in the right hands from Shibuya to deeper underground pockets across Asia and beyond, these tracks arrive tested and ready.

When The Dawn Breaks sets the tone with a bumping bassline that will get the room feeling much lighter, Ron Zepplin follows with a tougher edge, drawing inspiration that can only be described as Chicago sounds.Flip it and things get real, Underground is this hypnotic number that will command the dancefloor, vocals accompanied by some mind bending synth lines, time for the lunatics to transcend! Finishing off we got some remix treatment from across Timor sea, Fraktal of Indonesia put there spin on things with a stripped back mix.


Cosmic, Dance, and beyond — Another one for the bag.

For decades, dancers, collectors, and fellow selectors have asked Beppe Loda the same question: "Where do you find these records?” The answer remains classified. What we do know is that few figures in dance music have spent as much time digging, discovering, and championing forgotten sounds as the Italian maestro. Long before algorithms, reissue campaigns, and online marketplaces made obscurity accessible, Beppe was uncovering hidden treasures and introducing them to adventurous dance floors. His influence stretches from the legendary Typhoon club to the present day, inspiring generations of DJs, collectors, and cosmic music devotees along the way. Italian Spaghetti Disco Freak Vol. 5 offers four more clues. Drawn from Beppe's vast archive and lovingly retooled for modern-day disco freaks, these edits are a reminder that the best dance floors are built on surprise. Strange records become anthems, forgotten melodies become obsessions, and once again Beppe proves that nobody keeps dancers guessing quite like he does. By now, the evidence is overwhelming. Beppe's well of Italian disco appears to be bottomless. Every time it seems impossible that another forgotten gem could emerge, the maestro somehow uncovers another one. The mystery continues. In Beppe ci fidiamo.

BOY Records was founded by Michael Zosel back in 1987 but it was after a few releases that he started to work with producer Arno Müller. “Brian” by Absurd was the first techno release on the label and a great success in the German techno scene. The cooperation continued with singles by Hypnopedia and New Scene that worked very well and put the name of BOY Records in the charts and clubs all around Germany and abroad. In 1990 another massive success came with the single “Kennedy” by Deep Thought and since there the label did not stop to release hit after hit by lot of names like Time Modem, “O”, Cybex Factor, Sonic System, Moskwa TV, MCL and lot more.

“Timeless Technology 1988-1991” compiles some of the best singles released on label’s most fruitful years. A selection of 24 classic tekkno traxx. Four records with printed inner sleeves packed on a silk-screened transparent Pet-Gag box. Limited edition of 500 copies.

The ultimate soundtrack of the summer is here: Mixatissimo, a 10-track vinyl-only mixed dance compilation bridging nostalgic ’80s sunshine vibes with modern Italo and indie-dance energy.

In Italy, during the 1980s, there was an absolute ritual that marked the beginning of summer: the release of those mixed dance compilations with glittering, futuristic covers. They weren’t just records; they were the very definition of sun, sea and tan lines. It was precisely holding one of those vinyls in his hands – the first one he ever bought – that sparked the musical passion of Italian DJ and producer Hey Cabrera!

Today, that perfect circle closes with Mixatissimo, a project that takes that nostalgic inspiration and transports it straight into the modern era.

Released as an exclusive vinyl-only edition by Universo Segundo and powered by Bordello A Parigi, the compilation packs 10 bangers oscillating between modern Italo, indie-dance and electronics, featuring some of the hottest names on the contemporary scene.

Exclusive special edits have been crafted for every single track, locking the groove into a fixed BPM for each side: 122 BPM on Side A and 125 BPM on Side B. Thanks to smooth transitions featuring drums-only sections, the record flows as a continuous stream for the listener, while simultaneously serving as the perfect tool for DJs who want to mix the individual tracks.

A meticulously calibrated selection, designed as much to make the dancefloor explode late at night as to keep the rhythm high in the most sophisticated listening bars.

The soundtrack to your summer is ready.
What are you waiting for?

How time flies when we’re talking truly classic House Music.

Incredibly it is 35 years since the epic BREAK OF DAWN was released. Track creator Geoff Hibbert had released the much loved A PLACE CALLED BLISS by CYCLONE on Network before coming up with the stunning BOD.
It was decided that a change of artist I/D away from Techno/Bleep influenced Cyclone was required and RHYTHM ON THE LOOSE was born.

Network came up with an initial limited edition 12” press on their One After D label to tie in with the Rave zeitgeist of 1991, to help kickstart a buzz on the track. Once this was ignited the “ suitcase at the door “ gem was properly released on the main Network label.

Acclaimed as an instant classic both in the UK and USA - where Network label mate Kevin Saunderson was an enthusiastic early advocate - BREAK OF DAWN is one of the tracks that truly shaped and defined the House Music explosion. Since then it has matured like fine wine.

To celebrate the 35th anniversary Network invited M.A.S.C (Mark Archer and Shadow Child) to come up with a remix that befits the as good as it gets status of the mighty BOD. They duly obliged..it’s a gem.

First copies of the remix are on a unique ADVANCE DJ COPY label with the track on both a and b sides.

An instant do you know the score collectors item …1991 to 2026 35th Anniversary Remix 12.

OMRI. returns to Crosstown Rebels with his latest three-track release, ‘Signals’. Out on 24th July 2026, the in-demand DJ/producer follows up one of the label’s standout tracks of recent years with a collection of hypnotic, after-hours club cuts.

OMRI.’s relationship with Damian Lazarus’s Crosstown Rebels imprint began last summer when he made his debut with ‘Nothing Wrong’, a record that quickly became one of the imprint’s defining releases of the season while being awarded Pete Tong’s Essential New Tune on BBC Radio 1, and introduced his distinctive blend of understated yet driving dancefloor psychedelia to a wider audience. Returning to the label a year later, following a prolific run of recent releases on the likes of Hot Creations, TSZR, Higher Ground and AFFAIRS, plus his own burgeoning Collecting Dots Records imprint, his ‘Signals’ EP picks up where that breakthrough left off, while pushing deeper into his unmistakable sonic world.

Opening the release, the title track ‘Signals’ is quintessential OMRI. throughout. Rolling low-end pressure, spiralling effects, and an infectious female vocal hook all combine to create a track that feels playful and hypnotic. Built with a light touch yet packed with personality, it showcases the instinctive groove-led approach that has become central to his rise. On the flip, The Space dives further into late-night territory, pairing punchy drums and a wicked bassline with warped, stuttering vocal fragments that drift in and out of focus. Meanwhile, Scenius closes the EP through crisp percussion, acid-dipped textures, and cleverly manipulated samples, steadily drawing listeners deeper into its hallucinatory atmosphere.

Ketiov joins Radio Slave’s Rekids with the ‘I’m Okay’ EP The artist, also known as one half of the Catz ‘n Dogz duo, released on the REK’D sublabel last year.

Ketiov, AKA Voitek Taranczuk, drops the ‘I’m Okay’ EP on Rekids 17th July 2026, following his ‘10 Hours Extravaganza’ EP with Edvvin on sublabel REK’D last year. Opening track ‘La Dopamina’ sees Taranczuk, also known as one half of renowned touring duo Catz 'n Dogz, team up with Equatoguinean Spanish DJ, vocalist, producer, and visual artist Megane Mercury. Their mesmerising voice, paired with ‘La Dopamina’s raw, infectious groove, drives this club tool forward, while ‘Shut Up’ follows with playful, crunchy, glitchy dancefloor energy. On the fl ip, the mind-melting ‘My Version Of A Kickdrum’ builds pressure to distorted intensities before dropping into a hypnotic spoken-word ritual, while ‘Guiri 2026’ closes in a whirlwind of Ketiov’s own chopped-up vocals and muscular, jackin’ drums.

“This EP is all about experimentation and just jamming out. I wanted to keep the arrangements super raw and get back to the roots of music—capturing a specific feeling in the moment so people can experience it on the dancefloor later. Overall, I wanted to make an old-school club EP with different tracks for different parts of the night.” – Ketiov

As part of Catz ‘n Dogz, the Madrid-based Ketiov has shaped global dance fl oors and contributed to his own co-founded Pets Recordings and its off shoot, Step Recordings, alongside labels like Radio Slave’s flAgship Rekids imprint, Defected, and plenty more. He also runs the local queer party CARBS alongside his husband and is a resident at Madrid’s Cafe Berlin and fetish party MyPleasure.

‘Perfect We Are Not’ the latest track from Soulwax, emerges directly from the band’s recent Abbey Road After Hours project - a unique collaboration with the iconic London studio that saw Soulwax take over the building for a series of recording sessions and a landmark live event.

Working across Abbey Road’s historic spaces - from Studio Three, to Studio Two, to Studio One - the band used all three rooms as a continuous creative environment, moving fluidly between them in pursuit of new material. It was within these sessions that ‘Perfect We Are Not’ was written and recorded with their full live band (including three drummers).

The track was cut using the studio’s vast array of analogue equipment before being pressed direct to vinyl and played as the opening moment of their 2manydjs set inside Studio One

Now released as a standalone single, ‘Perfect We Are Not’ carries that immediacy forward — a driving, full-bodied track that reflects the band’s instinctive, performance-led approach in the studio, and will also be released as a limited edition 12” via DEEWEE.

"Al Festa's musical genius was revealed at the age of 14 when was released ''Starway to Escher'' with the Italian prog rock band Bauhaus (1974). His talent continued with "Miss Manhattan" by Metropole Al Festa, Francesco Puccioni (aka Mike Francis), Claudio Giorgi, Sharon Russell vocalist), his very first disco-music song in 1981. Over his career - a dozen movie soundtracks and hundreds music videos - his involvement in the Italo-Disco scene of the early 1980s is noteworthy. Undoubtedly, his contribution to Kristal (himself Al Festa, with Anne Dattner and Max Liofredi) remains most memorable. "Ete Super" was written with Helene Chauvin, a close friend of the now legendary Jeanne Mas. Helene attempted success as Abilene with "Tout Tout Tout Mais Pas Ca" arranged by another Italo-disco legend, Pierluigi Giombini (1987). Returning to Kristal, what convinced Claudio Casalini - one of Al Festa's best friends - to create this vinyl reissue was not only the memory of this talented artist, who passed away prematurely, but also the track "Fallin'" on the B-side, which embodies all the composer's post-Romanticism, a song rich of emotional and sensitivity, with intimate and often dramatic tones. When you are about to purchase Kristal, keep this excellent B-side in mind. You will not regret the choice."

A collection of hit songs released at the time of the TV anime "Dragon Ball", including rare insert songs, has been reissued on clear orange vinyl. This is a truly one-star ball (Yishinchu) disc!

A collection of hit songs that also includes the opening theme song "Makafushigi Adventure!" and ending theme song "Romantic Ageruyo" released in 1986. The "Son Goku Song" is sung by Masako Nozawa, the voice actor for Son Goku, the main character of Dragon Ball, and the "Wolf Hurricane" is sung by Toru Furuya, Yamcha's voice actor, Hyuma Hoshi from Star of the Giants, and Amuro Ray from Mobile Suit Gundam. Contains a total of 10 songs, including "Mutenroushi no Oshie" song by Kohei Miyauchi, the voice actor of Master Roshi! A must-have for Dragon Ball fans!

"There are records that move between genres and records that dissolve them into something with no clean name. Tomb is the second kind. Eight tracks from Maltese producer OS 1R 1S, where Detroit electro, dub and braindance are pulled through a sonic elixir, so specific, that the genre tags become a formality. As Digital Empathy's third outing, Tomb, cements the label's 'sinister futurism' ethos in its sharpest form yet. The lore is its own document: a Dantesque collapse, a young Malassian psyche fractured by events on Terra, a landscape where all water has been replaced by coke. An angelic Unipolan risks immortality to pass one message through - 'all axioms are false in this system'. 'RIP' opens with illbient dread of early Actress, 'St. Peter' pulls a Drexciyan chassis under metres of dub, 'False Axioms' time-shifts in a thematic unresolved structure, and 'Misplaced Prayer', a floor-track with enough mid-range distortion that can hallucinate spiral engravings. That OS 1R 1S originates from Malta, home to the oldest standing stone structures on earth, sits exactly right in the record's ritualistic undertones. For heads of the negative space of Stingray, the unnerving melodies of Terrence Dixon, but none of the comfort of knowing exactly where you are."

For the decennial release on Punctuality Warsaw duo W.A.C., aka Private Press step up with their Forever W.A.C EP. Moving away from their more techno-oriented offerings, Forever W.A.C. keeps the tempo and energy of their earlier work but suffuses the mood with warm, glowing trance and prog energy. This is peak-time Punctuality business in its purest form– on time as ever. “No More No Show” comes in hot from the get-go: galloping snare rolls, raved-up breakbeats, uplifting pads, big basslines, acid licks, and the low-end wubs that have become synonymous with the Punctuality sound. One for that point in the night when the dancefloor has melted into sweaty, eyes-closed, hands-up amorphia.

Barely recognisable to its original counterpart, the Rhyw remix strips the A1 down to the bare essentials. Preserving only a few percussive elements, the euphoria of No More No Show is replaced with hazy, cinematic synth washes that drone around a skeletal groove loaded with bassweight, warping the original into a dubbed out psychedelic UK stepper. Shifting to the morning light, “Only Froggerz” is a shimmering roller that ebbs and flows around barreling kick drums, kaleidoscopic synth lines, and vaporous FX, with lustrous chord work driving the emotion dial to 11. Elegant and restrained but relentlessly pummeling, it’s early-morning club gear at its finest.

Rounding out the EP with an essential slice of modern prog, “Close” utilises all the good bits: skippy basslines, filtered squelches, tribal-leaning percussion, and a relentless groove that builds around the subtle interplay between the stabs and the vocals. An epic closer that feels as true to the Punctuality canon as ever.

Enamour returns to Crosstown Rebels with his latest EP ‘What U Said’, featuring SAM SHI. Featuring a remix from recent Crosstown signees Bonafique, the US producer continues his evolving relationship with the label following his 2025 contribution to SPIRITS VII and earlier remix work for bullet tooth.

LA-based DJ/producer Enamour has long operated outside of fi xed lanes and guidelines, shaping a sound defi ned by melodic depth and a psychedelic edge that translates across both club systems and through headphones. With regular support across his work from the likes of Solomun, CamelPhat, Hernán Cattáneo, Lee Burridge, and Damian Lazarus, alongside remixes for RÜFÜS DU SOL, RY X, and Lane 8, his catalogue reflects a balance of reach and individuality.

"What U Said" is about the moment language turns physical; when words create a chemical reaction you can’t take back” says Enamour. “It taps into the same quirky energy as my other records on the label, which I think heightens the feeling of surprise as the instrumental meanders underneath SAM SHI’s vocal It’s a track that pairs Enamour’s textured, immersive production with fellow LA-based artist SAM SHI’s vocal presence, shifting through atmospheres and rhythmic drive.

Making a return to the label, in-demand duo Bonafique step in on remix duties, reworking the original into a more hypnotic, groove-led interpretation built for deeper club moments. Closing track ‘Dip’ has already become a fixture in Enamour’s sets, operating as a trippy counterpoint to the vocal-led A-side and employing commanding drums, oscillating synths and a driving energy made to capture dancefloors. “‘Dip is a fan favourite and secret weapon that’s been a staple in mine and others’ sets for quite a while now,” he adds. “Balancing out the release with this one felt like the right time to finally get it out into the wild.”

Hot Creations Summer 2026 Vinyl Sampler featuring four of the Hottest recent releases on Hot Creations.

Adam Ten and Asulin join forces for the first time on Hot Creations with ‘Warawara’. Fusing driving grooves, finely tuned production, and emotive vocals into a cohesive club-ready statement. ‘Warawara’ moves with hypnotic energy and forward momentum, as Adam Ten channels his signature blend of evolving rhythms and precise production, before Asulin’s vocals weave seamlessly through the arrangement, delivering melodic clarity and emotional resonance. High-flying UK DJ/producer Riordan debuts on Hot Creations with ‘Feel The Funk’ which locks into a slick groove built around silky M1 organs, skippy drums, and soulful vocals, as it twists through a series of cascading builds and drops. Infectious as hell!

Following the release of ‘Murder Mystery’ in October, Jamie Jones’ groove-driven track returns with a reinterpretation from one of the scene’s most hyped talents: German producer Kolter’s remix injects the track with his unmistakable style: deep, rolling basslines, playful funk tones, and raw, 90s-inspired textures that keep the energy moving. The result is a version that maintains the original’s tension and groove while opening new sonic spaces for DJs and dancefloor explorers alike - bridging underground sensibilities with festival-ready punch. Finally, Volkoder returns to Hot Creations with ‘My House’, a no-nonsense groove designed to hold and control the dancefloor. ‘My House' locks in from the off, sitting firmly in the pocket with commanding synths, hooky vocal interjections, and chunky low-end weight, while smaller details dart around the groove to add splashes of momentum.

For WOLFEP088, we’re welcoming an Italian stallion to the WOLF stable. DJ Soch is a renowned DJ, producer, and label owner whose roots in house music run deep. Beginning his journey behind the decks in the mid-1980s, he has spent more than four decades honing a sound shaped by house, techno, disco, funk, hip-hop, and the timeless influence of Detroit and Chicago. As the founder of Black Angus Records and a resident DJ at the renowned Italian club Serendipity, he has shared lineups with some of the best to ever do it, helping to shape Italy’s underground electronic music scene.

When his tracks hit the WOLF inbox, we knew we were onto something special. The first one we heard, ‘Let Me Tell You’, was an instant yes, must sign moment. There’s skippy drums, warm keys, church organ, a heavy bassline and a pleading, soulful male vocal. One of those tracks that should come with a neck-brace. Soulful, but powerful. There’s also a ‘Power Mix’ version that keeps all the elements we loved, but strips back the vocal and ramps up the church organ. Absolute Holy Ghoster! This is the type of track that would have torn up the dance floor at the Shelter, a real Timmy Regisford tops-off jam.

On the flip, there’s a hypnotic deep house groove entitled, ‘Chewing Gum’. This is proper stuff, heads-down, deep house for the dance floor. We’ve paired it with a remix from Prince Palmer, one of the standout remixers of recent years, and a great group of guys. The Prince has delivered a reinterpretation that gives a nod to 90s US Garage, complete with all the trademark production chops you would expect from a regular on the stellar Bobby Donny label. It’s a track that wouldn’t sound out of place on a peak-period Strictly Rhythm 12”, so that’s all you need to know.

Four belters, all on one record, designed for maximum listening pleasure.

*repress*

Phonica unveil the first in a series of three 12" samplers featuring a selection of tracks from their new compilation 'Ten Years Of Phonica'.

Tigersushi and Crowdspacer boss Joakim kicks off the first 12" with melancholic masterpiece 'EAHR'. A prolific and sonically diverse producer, his balearic-flavoured remixes over the years for the likes of Antena and Max Berlin shines through on this one. Up next is the enigmatic Panoram, a shop favourite since his brilliant 'Accents' 12" arrived back in 2012. The lysergic 'Alpha Marmara' hits all the right spots once again.

On the b-side edit-masters and rare record connaisseurs Psychemagik contribute the string-laden 'Triumph Of The Gods', an ambitious Axelrod-esque modern funk gem. Finally, Alex Egan resurrects his work as The Draughtsman one last time with the previously unreleased track 'Fade To Green' - a deep, atmospheric house/techno cut recorded during the same 2010/11 sessions as his '1694 EP'.

Phonica Records was established in September 2003 and set up shop in Soho, London, adding to the high concentration of independent records stores that inhabited the area. Founders; Simon Rigg, Heidi Vanden Amstel and Tom Relleen joined The Vinyl Factory with the aim of creating an exciting outlet for innovative dance music, traversing all sub-genres and cultures. Over the past decade the emporium has developed into a well-respected destination for DJs and enthusiasts, and has subsequently become a bustling hive of conversation and inspiration as part of a wider community of music lovers.

While trends and movements in music have grown and faded over these years, Phonica has always remained in a state of evolution. It is this openness to change alongside a commitment to it's original ethos and an enduring ardour for quality, cutting-edge sounds that has fuelled the shop's staying power.

To celebrate reaching this milestone, Phonica Records have invited some of their favourite artists to produce a track for an eclectic yet cohesive compilation, which will hopefully go some way towards sonically unfolding the 'Ten Years of Phonica.'

King Street Sounds Sampler Vol. 7 continues the long-running series from the legendary King Street Sounds catalogue, bringing together a selection of classic house cuts from some of the label’s most respected artists.

Featuring productions from Mood II Swing, Jovonn, Roy Davis Jr. and Osunlade, the release highlights the soulful, groove-led house sound that has defined King Street across decades of dancefloor culture.

Including standout tracks such as Mood II Swing’s Nafara and Osunlade’s The Fifth Dimension, the sampler brings together several proven records in one DJ-friendly vinyl package.

With warm grooves, musical depth and timeless club arrangements, these proven King Street records offer strong crossover appeal for both long-time house collectors and DJs looking for reliable dancefloor material.

As the seventh edition in the King Street sampler series, this release presents a selection of essential house cuts on one highly playable vinyl release.

A strong catalogue addition for stores serving soulful and deep house buyers.

Very very very pleased to be able to put this release out, as so many of these Phineus II tracks have been mainstays in my sets for a number of years & it feels good to finally have them out for everyone else to be able to hear and enjoy.

To me, these tunes fully represent the unique sound and style that only he can capture in his music. It was hard to narrow the track pool down to a 4 track EP, so it had to be expanded to an 8 track release, featuring some of my favourite tunes of his, some of which have been unreleased for close to a decade!

Big up to Phineus II for his one of a kind production skills & ideas & to Kid Lib for his archiving of these tunes & for allowing me to release some of these tracks, as some of them were marked for release on his label Green Bay Wax.

Don’t Pretend’ by the Belles is one of the foundation stones of northern soul. Largely ignored in its homeland it is revered across the Atlantic. It has been reissued twice in the UK, but this time we have chosen an alternative B side to previous releases. ‘Cupid’s Got A Hold On Me’ was only found in 2004 when Ace bought the Mirwood catalogue and the recording was discovered among the tapes. It deserves its share of the spotlight.

This 2 x 12-inch vinyl release is a reissue of the original soundtrack to the animated feature Ambient Trip Commander. With a running time of 70 minutes, the soundtrack was first performed as a live synthesizer improvisation by Danny Wolfers (Legowelt) at the film's premiere on May 28, 2022, at EYE Filmmuseum. Wolfers continued to perform the soundtrack live at numerous subsequent screenings before releasing it on cassette on August 4, 2023. The 2026 vinyl reissue presents the compositions in four parts, aiming to put weight on the listening experience as a cohesive album.

Ambient Trip Commander is a hand-drawn and painted feature-length animated film by Danny Wolfers (Legowelt), marking his first feature in the medium. The animation brings Wolfers' paintings to life through frame-by-frame watercolor techniques. The production process spanned eighteen months.
The film follows Samantha Tapferstern, a geeky young woman who works a mundane job at a synthesizer store in a medium-sized European city. She spends her nights playing RPGs and browsing dating apps. One day, she receives a train ticket and a cryptic message from a hacker group inviting her to Lonetal, a secluded village deep in the European Alps. As she boards the night train, a sinister adventure begins to unfold.

First up the return of Black Blood on vinyl after a hiatus of well over 20 years. This release is a reworking of the EXITUS002 vinyl that came out on that Italian label back in 1999. This one has a bonus track from that period of time too called “Avalanche Of Fear”. Pressed on “Blood Splatter” vinyl and limited to 150 copies. Each sleeve has been hand-painted, stamped and numbered by Black Blood himself (along with a little help from the family). Random copies have limited postcards inside. The sleeves that were hand printed are the same stock of sleeves from 2000 that were used on F.O.S. number 2 & 3. The 2026 mastering has made this release even better than the super-rare original.

A counterculture movement united by an expansive, experimental and deeply soulful sensibility, Japan’s rebel protest music challenged the status quo and changed the country’s music industry in the process.
The birth of Japan’s nascent acid folk scene was rooted in the messy and invigorating political climate of the late 1960s. It is a story of Dadaists, communists, pharmacists and cult leaders, led by a young generation of upstart students, artists and dreamers hellbent on turning their world upside down.

Born on the campuses of Tokyo, Kyoto and Osaka, and centred around newly formed independent label and left-wing stronghold URC, this uniquely Japanese form of folk expression provided an outlet for musicians who were tired of aping Western sounds and instead found ways to sing in Japanese and integrate traditional forms in new ways.

At the forefront of this movement was Yellow Magic Orchestra’s Haroumi Hosono, a polymath innovator whose band Happy End released the first Japanese language rock album, and whose influence would go on to be felt across Japanese music for decades. Alongside, and informed by the Kansai scene’s Takashi Nishioka and Happy End collaborator Ken Narita, they experimented with cadences and accents of the Japanese language to open the door for others to experiment with their own forms of psychedelic folk too.

Some, like Nishioka, were more inspired by Dadaism than drugs, while others, like Kazuhisa Okubo, would ultimately find work as a chemist, having founded two further folk groups that flirted with varying levels of success. Obstinately uncommercial, relentlessly creative, the music featured on Time Capsule’s Nippon Acid Folk represents a broad church of influences.

Perhaps the wildest addition to this congregation however was Hiroki Tamaki, a classically-trained violinist and committed iconoclast, whose synth-prog odysseys hinted at his obsession with the divine. Subsumed by the teachings of Bhagwan Shree Rajneesh, he penned an album in praise of the infamous religious leader of which two superbly mind-bending tracks are featured on this compilation.

Charting the decade from 1970 to 1980 as the dreams of political and spiritual liberation seeded in the ‘60s turned to dust, Nippon Acid Folk surveys a little explored corner of Japanese music history, but one which ultimately laid the foundations for an independent music industry, launching the careers of Hosono and others in the process.

Nippon Acid Folk 1970-1980 is pressed on 12” vinyl and represents the start of Time Capsule’s deep dive into Japan’s rich history of folk and psychedelic soul music.

Straddling an intriguing intersection of Drum & Bass, Jazz, Fusion and unidentifiable electronica, ‘You Won't Find Your Way From Here’ is the debut album from Jhauk.

An extremely talented multi-instrumentalist from Sheffield, UK, Jhauk came to Blu Mar Ten’s attention when, in 2017, he created a wild prog-rock inflected remix of BMT’s track ‘Titans’
Further conversations with Jhauk revealed the depth of his unorthodox approach to electronic music and unearthed a treasure trove of production skills, culminating in the album before you.

Oscillating between the late-night, moody calm of late 50s Miles Davis, John Coltrane & Bill Evans, the riotous 70s instrumentation of Weather Report, the modern cool stylings of Matthew Halsall and the gritty edges of modern D&B production, it’s scarcely believable that this collection of tracks came from one person working alone in their studio. With tempos and time signatures skittering all over the place, Jhauk uses genres as catalysts rather than containers, he finds the interesting stuff in the hinterlands of their structural relationships and tensions. 

Talking about the album, Jhauk has strong opinions:

“Drum & Bass emerged as club music, and club music comes with its own logic. Specific structures, specific build-ups, a formula that supports that context. 
That's fair enough, but almost 40 years later, why is 99% of D&B still made the exact same way when 99% of the time it's never heard in a club? The same structure, the same formula, barely any development beyond the core idea. Tracks where you can hear 10 seconds of the drop and know almost beat-for-beat how the next 5 minutes sound. No real musical depth or exploration. People regurgitating the same material ad-nauseum but never actually saying anything for themselves. 
This period of composition for me was about taking what I love about D&B, the rhythmic energy and potential for creative freedom it presents and really stretching it to its limits. Of taking drum & bass as a starting point and seeing where it ends up without an idea of what that destination might be. Most people would probably never call a lot of the results D&B, but that's okay because it was never the point.”

 
Dripping with melancholy, euphoria, longing and pure urgency ‘You Won't Find Your Way From Here’ is unlike anything else you’ll hear this year. The sound of an artist entirely unconcerned with impressing peers or performing on ‘socials’; you're hearing a true musician at work, expressing ideas through the skill of his hands, mind and ears. The album’s secrets aren’t revealed with a single play-through, but bears (or even requires) multiple listens to expose its layers.
In previous times, they called this ‘art'.

Jay-Jay Johanson's 1998 album Tattoo is a captivating blend of trip-hop, jazz, and electronic music, showcasing the Swedish singer-songwriter's unique melancholic sound.

Tattoo features standout tracks like "Quel Dommage" and "Even In The Darkes Hour," which highlight Johanson's smooth vocals and atmospheric production. The album's moody, cinematic style is characterized by its downtempo beats, lush arrangements, and introspective lyrics, creating an immersive listening experience. Tattoo marks Johanson’s evolution as an artist, blending influences from jazz noir and electronic music to craft a sound that's both haunting and elegant.

Fans of trip-hop and experimental pop will find Tattoo a timeless gem, embodying Johanson’s signature emotional depth and musical sophistication. Listening to it will take you on an evocative journey into one of the most distinctive albums of the late '90s.

Tattoo is a limited edition of 500 numbered copies on translucent red coloured vinyl.

Curió Curió came to flight by chance. Two artists, Rio-born, Austria-based singer and actress Luiza Monteiro and German producer Dustin Braun, had separately reached a fork in their journeys. An opportune encounter soon blossomed into an uplifting, heartfelt Brazilian MPB-groove project shaped by psychedelic disco and studio experimentation. In their own words Curió Curió’s sonic vision “is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic”.

A modern fusion influenced as much by Gal Costa and Jorge Ben Jor as Say She She and Bala Desejo, their sound deftly plots a course all of its own. A celebration of freedom, movement, love and life, intertwined with introspective moments of reflection. Treating tradition as something alive, migratory and unresolved, the album is not simply bound by a shared love of Brazilian music, but by a deeper question that runs through every track; where does one belong when home becomes plural? As a Brazilian living in Europe, Luiza's lyrics explore themes of identity, culture, and existence. The tracks move between cities and emotional registers without settling, tracing a sense of identity that shifts rather than resolves. Songs like ‘Amor Doente’ and ‘Mar sem Dar Pé’ circle around relationships that resist clarity, while ‘Menina Passarinho’ captures the fear and necessity of committing to music as a path. For Luiza, deepening her commitment to music alongside years in theatre was both inevitable and difficult. Braun’s production follows a similar logic. Initial ideas were often built without obvious reference points, only later incorporating rhythmic and vocal elements that hint at Brazil without reproducing it. Analogue techniques, tape, ribbon microphones and live ensemble recording bring a tactile quality that reflects the duo’s interest in process as much as outcome. Highlights include ‘Bem Querer’, built on an authentic samba street vibe with a super-catchy sing-along chorus, and ‘Vem pra Casa’ with its cosmic-tinged Brazilian boogie flavour. The album closes with ‘A Cor do Meu Sonho’, a quiet act of insistence. A refusal to shrink in unfamiliar environments, and a belief in the strength of difference. It is less a conclusion than a continuation, leaving the central question open. “I started to understand that I can belong to many places at once”, Luiza reflects. “And that can be something to embrace”. Lyrics from the song ‘Raiz’ translate in English to “I value a burning sun and the cold in the air. Constant change is my companion”. With Curió Curió, that idea is lived through sound, story and collaboration. A debut that feels both searching and assured, grounded in heritage yet shaped by distance.

FWM Entertainment returns with the second installment of the HYMNS series, bringing together an all-star cast of artists and collaborators united by one thing: groove. Blending house, gospel, soul, jazz, Afro-Latin rhythms, and Chicago-inspired jack, HYMNS Vol. 2 features exclusive remixes, previously unreleased gems, and fresh collaborations from Stefan Ringer, Marquinn Mason, DJ Kemit, Moe BPM, Lavahi, Lionbabe, The Pheels, and more. From dancefloor heaters to soulful slow-burners, every track adds a different shade to the collection.

More than a compilation, HYMNS Vol. 2 is a snapshot of the expanding FWM universe —where rhythm, soul, and thoughtful production exist in equal measure. Built for selectors, dancers, and deep listeners alike, this release moves effortlessly between peak-time energy and introspective moments. This is what FWM sounds like. Own What Moves You.

Just before dropping the 3rd chapter in his "Threesome" series, Hus Kingpin surprises us with a brand new EP on which he gets out of his comfort zone, rapping on some chill hop beats provided by Wun Two and Made In M, once again proving the versatile and creative MC he's always been! Hand-Numbered pressing limited to 350 copies.

Straddling an intriguing intersection of Drum & Bass, Jazz, Fusion and unidentifiable electronica, ‘You Won't Find Your Way From Here’ is the debut album from Jhauk.

An extremely talented multi-instrumentalist from Sheffield, UK, Jhauk came to Blu Mar Ten’s attention when, in 2017, he created a wild prog-rock inflected remix of BMT’s track ‘Titans’
Further conversations with Jhauk revealed the depth of his unorthodox approach to electronic music and unearthed a treasure trove of production skills, culminating in the album before you.

Oscillating between the late-night, moody calm of late 50s Miles Davis, John Coltrane & Bill Evans, the riotous 70s instrumentation of Weather Report, the modern cool stylings of Matthew Halsall and the gritty edges of modern D&B production, it’s scarcely believable that this collection of tracks came from one person working alone in their studio. With tempos and time signatures skittering all over the place, Jhauk uses genres as catalysts rather than containers, he finds the interesting stuff in the hinterlands of their structural relationships and tensions. 

Talking about the album, Jhauk has strong opinions:

“Drum & Bass emerged as club music, and club music comes with its own logic. Specific structures, specific build-ups, a formula that supports that context. 
That's fair enough, but almost 40 years later, why is 99% of D&B still made the exact same way when 99% of the time it's never heard in a club? The same structure, the same formula, barely any development beyond the core idea. Tracks where you can hear 10 seconds of the drop and know almost beat-for-beat how the next 5 minutes sound. No real musical depth or exploration. People regurgitating the same material ad-nauseum but never actually saying anything for themselves. 
This period of composition for me was about taking what I love about D&B, the rhythmic energy and potential for creative freedom it presents and really stretching it to its limits. Of taking drum & bass as a starting point and seeing where it ends up without an idea of what that destination might be. Most people would probably never call a lot of the results D&B, but that's okay because it was never the point.”

 
Dripping with melancholy, euphoria, longing and pure urgency ‘You Won't Find Your Way From Here’ is unlike anything else you’ll hear this year. The sound of an artist entirely unconcerned with impressing peers or performing on ‘socials’; you're hearing a true musician at work, expressing ideas through the skill of his hands, mind and ears. The album’s secrets aren’t revealed with a single play-through, but bears (or even requires) multiple listens to expose its layers.
In previous times, they called this ‘art'.

Phantom EP is Mihai Pol's second release on Griffith. The title track is one of his most anticipated in years, something he sat on for a long time and finally decided to put out, already a regular in his sets and at Sunwaves. We Almost is our favourite of the four. Stepback and Solo Locales round out the EP, all of them tested on festival floors well before they reached vinyl.

2026 Repress

RAWAX proudly presents the 5th release by Fresh & Low on their own RAWAX TREASURES series!
This time we have the honor to re-issue one of the most wanted records from their entire catalogue.
It's "Wind On Water" which came out on legendary Guidance Recordings in 1996!!!
The new version on RAWAX is re-mastered and will be out in Jnauary. Don't miss!

Back in stock and highly coveted, The Smiths - Best… I is a compilation of some of The Smiths’ biggest tracks including This Charming Man, How Soon Is Now?, Panic and more.

Night is about to fall, the day slowly fades away, and it is this twilight time that Magda Drozd’s latest album inhabits. Divided by Dusk carries the promise of a crepuscular otherworldliness. Inspired by Drozd’s stays in Japan, its rich tradition in ambient and experimental music and a collaboration with Japanese flutist Rai Tateishi, as well as a renewed engagement with her roots in Poland and its folk and ancient history, her work is a form of sonic excavation. Layers of dark-ambient tones intertwine with field recordings, textured violin, and luminous folk motifs, invoking long-gone, unspecified rituals.

The album freely interprets traditional folklore, unleashing those ghosts of past cultures we inherit through music that has been passed down to us. Paired with experimental ambient sonic textures, the album carries a magnificent, wandering, melancholic air. The compositions take on an incantatory dimension, welcoming us into a liminal world—one filled with buried treasures.

Knowledge The Pirate returns with a powerful new statement with his new album, The Round Table, which is now available. The Round Table is produced in its entirety by longtime collaborator and legend Roc Marciano through his Pimpire International imprint.

With roots in New York’s revered ‘90s hip-hop scene, Knowledge The Pirate has steadily built a reputation as one of the genre’s most consistent and authentic voices. A frequent Roc Marci collaborator and key figure in the modern underground renaissance, Knowledge fuses golden-age grit with new wave innovation—bridging generations while staying firmly rooted in New York’s timeless sound.

Since his 2018 debut Flintlock, Knowledge has carved a lane entirely his own through his label Treasure Chest Entertainment, Inc. With five acclaimed projects under his belt, including the recent 5lbs of Pressure, he continues to deliver unfiltered street wisdom and personal reflection in every bar.

The Round Table stands as a testament to his evolution—an uncompromising body of work laced with Roc Marciano’s signature production and Knowledge’s lived-in lyricism. It’s not just a record—it’s a meeting of the minds, an audio council of kings.

“The Round Table is cinematic storytelling, teaching street knowledge, eating etiquette that will save your life” Knowledge professes. “This album is like an Honorable Elijah Muhammad book; How To Eat To Live. Produced fully by the true creator of the new wave sound, Roc Marciano, you are all invited to a seat at The Round Table; and break bread with the true Godfathers of this new wave rap renaissance.”

French ambient composer Franck Zaragoza continues the evolution of his Ocoeur project, moving beyond intricate sound design and beat-driven constructions into expansive, cinematic, beatless terrain.

On his eleventh album, Greener Grass, Clearer Water, Zaragoza deepens the eco-ambient themes introduced on 2024’s Breath, shap-ing a work that feels both intimate and quietly monumental. From its opening moments, a sense of stillness takes hold.

The album unfolds like a series of vignettes, glimpses of an unspoiled world rendered with clarity and restraint. These are not nostalgic visions but speculative ones, reflecting what the natural world might yet become should humanity alter its course.Rather than delivering overt statements, Zaragoza allows the message to resonate through atmosphere and tone.

The result is a subtle but persistent undercurrent, an awareness of fragility and of beauty at risk. In this way, Greener Grass, Clearer Water becomes less a warning than a quiet invocation, drawing attention to what stands to be lost. It is an arresting and finely balanced work, positioning Ocoeur at the intersection of ambient, neoclassical, and cinematic drone with renewed focus and purpose.

The free folk/jazz sound of modern Los Angeles. Featuring a heavy bunch of musicians and vocalists including Moor Mother.

"Fearlessly Accessing the Divine Spirit From Here on Out" is the vinyl debut from pianist, composer, and producer Diego Gaeta. He has previously released projects as Club Diego and with the trio Human Error Club (whose members Mekala Session and Jesse Justice helped produce this record). He has quickly become a fixture in a number of Los Angeles musical environments, working with Lionmilk, The Pan Afrikan Peoples Arkestra, Carlos Niño, Black Nile among others. This album is a synthesis of these many LA environments, and carries chamber, jazz, ambient, and folk influences, ultimately giving it an uncategorizable feel similar to works by Arthur Verocai or David Axelrod.

Gaeta recorded the initial ideas for the album by himself after experiencing a burst of creativity during the lockdown of 2020, in the aftermath of a season of protests in Los Angeles, on a piano at his home in El Sereno. "I was constantly not in tune with myself, always awaiting outrage and tragedy in a very unstable world. However, hitting the streets in support of various ongoing pandemic community actions felt necessary and it marked a point in time that ushered in large societal changes. The weight of that era made me feel allergic to making art at the time. All of these ideas came after that period, expressing my reflections subconsciously. I remember that the ideas came in a short amount of time, and then they developed."

Once he had created the tracks as Ableton sessions, he realized the gravity and context of how he was processing his ideas so he, as he puts it, "felt like taking them outside the hands of midi and into the hands of friends." Gaeta was able to assemble his dream band, which ended up being a 9-piece ensemble, or a nonet. "I felt that at some point I was channeling the geometrical balance of that nonet...it's almost as if I had a sextet and then the three of the sextet that's not the rhythm section were doubled. It's a really dense sextet, that's how I see it."

The recording process began the following summer in June 2021 as the musicians were all adjusting to the newfound dynamic of getting tested for COVID, waiting a few days, and then meeting up to record. "We were eating Indian food, some of us were smoking, it was a nice memory, but I felt a little stressed, because I was the bandleader, and I felt the emotional weight of my music."

The title track and single, featuring vocals by Jimetta Rose, begins with a speech by Gaeta delivered when playing with Black Nile in 2019 at the Levitt Amphitheatre in MacArthur park. Gaeta provides the following account: "Even though it was in 2019, socio-political tensions and issues were at the forefront for me at that time. I wrote a speech that was intended to be critical of the US but it ended up becoming a collage inspired by different women that had messages of freedom that spoke to me the most. I quoted Nina Simone and Georgia Anne Muldrow, it wasn't something that I read but something that she said "kicking it with consciousness and style" that phrase stuck with me, so I used it in that speech. Although critical, the speech had a positive feeling to it, and it was hopeful. I gave that speech while fireworks were going off."

Moor Mother & Zeroh are found on their respective tracks, Memory Screen & Eccolo - both delivering a distinct, commanding vocal performance. Low Leaf colors the track Soft Spot with harp, a beautiful ballad nestled in the center of the album. Other players include Gregory Uhlmann on guitar, Jon Kaye on violin, Devin Daniels on alto saxophone, Caleb Buchanan on bass, Dante Luna on vibraphone, Patrick Behnke on viola, Bryan Baker on tenor saxophone/flute, and Mekala Session on drums.

"I’d like for us tonight to embody a freedom oriented life. Freedom isn’t just a dream, it’s a place we must all arrive at together, as one by one the people of the Earth help each other to be Free of power, hate, and insecurities. Let’s kick it with consciousness and style. Can y’all dig that? YEAH. I can too. So now we’d like to present to you a spiritual transmission I like to call: 'Fearlessly Accessing the Divine Spirit of Freedom From Here On Out.' YEAH" - Diego Gaeta

2026 Repress

Portuguese techno mainstay Dextro drops cultured EP 'Covil Dos Abutres' for his label debut on Mutual Rytm.

Dextro has been immersed in electronic music and DJing since the early 90s. In the decades since, he has become synonymous with a sound deeply rooted in simplicity and authenticity. Fuelled by a passion for his craft, his production process is guided by intuition and spans a diverse range of styles, from tunnelling grooves to more potent techno with deep and hypnotic layers. He has held several key residencies and released on top labels like CLR and Missile Records, and he adds to those with a first outing on SHDW's Mutual Rytm with 'Covil Dos Abutres'.

The five-track 12" and eight-track digital EP has a sleek, stripped-back style, with wide-spanning corners of the techno realm explored. 'Covil Dos Abutres' is a deep space transmission with journeying, frictionless beats and deft sci-fi motifs that recall classic touches synonymous with the genre's pioneers. 'Correct Incorrect' keeps the pressure on with more rubbery, dubbed-out groves beautifully decorated with delicate melodies. 'Vida E Morte' is another sublime and hypotonic minimal techno sound with funk in the kicks and a freaky late-night spirit. 'Element One' again combines perfectly reduced drum groves with atmospheric pads and curious samples that keep you intrigued, and 'Beautiful Day' closes out with sonar-like synth pulses over the most skeletal but captivating rhythms. Digital cuts 'Time Line', 'Savana Urbana', and 'Diferencas' further explore the intersection of minimalism with cosmic synth designs that take you off into distant astral worlds.